Copyright is Corporate Welfare

You won’t often hear a publisher or an author speak out against the manufactured government-monopoly granted legal right that is “copyright”. And I’m not doing so because there are some books by deceased authors that we would definitely publish if their copyright was expired, or because I believe that the extended copyright of life+70 years is both immoral and absurd even though I do. In most cases, we have absolutely no problem obtaining the necessary rights from the copyright holders.

What I’m addressing here instead is the reality of the situation that surrounds the issue, because nearly everyone who opines about it is doing so in complete ignorance and on the basis of some wildly false assumptions.

First and foremost, the idea that no one will write books if they are not “protected” by copyright that “gives them the opportunity” to sell and profit from them is absolutely and utterly false. It is such a ridiculously stupid statement that anyone who argues this should never, ever, express their opinion on anything ever again, because they are not only literally retarded, they are also historical null sets. I will never regard anyone who presents this argument as a cognitive adult, because it requires a complete absence of both thought and relevant information.

Copyright was invented in The British Statute of Anne 1710, full title “An Act for the Encouragement of Learning, by vesting the Copies of Printed Books in the Authors or purchasers of such Copies, during the Times therein mentioned”. Previous “copyrights” were simple royal monopolies granted on an individual basis, which should make plain the true foundation of the so-called “moral right”. Regardless, the fact is that all of the pre-1710 classics were written sans copyright, thereby exploding the ahistorical notion of copyright causality.

But one doesn’t need to know anything about history to realize that economic factors do not drive the impulse for human creativity. Consider the current numbers reported by the book publishing industry.

  • 787,700,000: Total US print editions sold in 2022
  • 526,000,000: Total US ebook editions sold in 2022
  • $22,600,000,000: Total US print revenue in 2022
  • $2,040,000,000: Total US ebook revenue in 2022
  • $8,900,000,000: Big 4 publisher revenue in 2022 (Penguin Random House, Hachette, Harper Collins, Macmillan)
  • 4,000,000: The number of new books published in 2022.
  • 2,300,000: The number of self-published books published in 2022
  • 600,000: The number of self-published books published in 2014
  • 80: The percent of total book distribution controlled by Amazon.
  • The average book sells 200 copies in its first year and 1,000 over its lifetime on Amazon

In other words, each print edition produced an average $28.69 in revenue while each ebook produced an average $3.88 in revenue. So the average book produces $27,182.80 lifetime revenue, with at most $17,668.82 going to the average self-published author and $997.30 to the average mainstream published author. Obviously, since Colleen Hoover sold more than 4,730,000 books in 2022, the median book lifetime revenue is considerably lower, but the averages are sufficiently informative to make it clear that absolutely no one is writing books in order to make less than $20,000 over the entire sales lifetime of the book.

Still less is copyright required to defend the interests of any heirs to that massive average windfall.

The fact is that copyright is nothing more than corporate welfare that primarily benefits five companies in the publishing industry and is defended by a very small number of corporate-favored authors who are the chosen beneficiaries of those five companies. Copyright is neither a moral right nor a property right, it is actually a violation of the economic rights of hundreds of millions of people for the benefit of a very, very small number of individuals connected to an insignificant number of corporations.

As for me, I would write even if absolutely no one ever read my books. I have written and published 27,435 blog posts and more than 500 opinion columns without ever getting paid for a single one of them. And not only am I very, very far from alone in that regard, I can count on one hand the number of writers I know who will not write if they don’t get paid for it.

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Mailvox: The Post-Morten Convergence of CS Lewis

A reminder, as if any could possibly be necessary anymore, of the importance of Castalia Library preserving the original texts that are being actively disappeared by the publishing industry:

We were given tickets to the stage version of The Lion and Witch and the Wardrobe. It was terrible. I was waiting to see what SJW stuff would be included. It started with about eight or so army guys, and only one of them was black, so I thought maybe we will be lucky… then the kids walked out. They were black. It was abysmal. Although it did put a different spin on a few of the lines – like when Mr Beaver is asking if they’re human or not…

The kids got to the house after being evacuated from London, and one of the two housemaids was a big burly man with a beard. He was wearing a maid’s outfit. It was grotesque. They stripped away all Christian references and undertones, which was impressive in an awful way given the subject material.

They even removed Santa. He was now Sinta Klause, and looked like a fat Turkish man who had been caught in an explosion at a fabric factory.

The West has fallen to Clown World. We are the remnant. We will rebuild anew and wiser than before.

“The Shadow that bred them can only mock, it cannot make: not real new things of its own. I don’t think it gave life to the orcs, it only ruined them and twisted them.”

— JRR Tolkien, The Return of the King

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Castalia House Thanksgiving Sales

From November 24 through November 30, Castalia Library is selling four Library books at a discount price of $69.99 for everyone in the USA and the UK. This includes both subscribers and non-subscribers alike; no discount codes are necessary or applicable to the books on sale. Free shipping is included.

  • The Lawdog Files
  • The Jungle Books
  • The Black Swan
  • Fooled by Randomness

Castalia Library is also selling four Libraria books at a discount price of $199.99. The same rules apply.

  • Ethics
  • Politics
  • Summa Elvetica
  • The Promethean

Don’t forget that the BASED BOOKS SALE is also running, as in addition to the hundreds of ebooks on offer from other authors and publishers, 9 Castalia House ebooks are available at $0.99 each until November 30. A Throne of Bones and The Junior Classics are also on sale. The ebook sales are available worldwide.

  • The Nine Laws by Ivan Throne
  • Wardogs Inc. #1: Battlesuit Bastards by G.D. Stark
  • Wardogs Inc. #2: Hunter Killer by G.D. Stark
  • Wardogs Inc. #3: Metal Monsters by G.D. Stark
  • Mutiny in Space by Rod Walker
  • Corrosion by Johan Kalsi
  • There Will Be War Vol. I by Jerry Pournelle (editor)
  • Summa Elvetica and Other Stories by Vox Day
  • A Throne of Bones by Vox Day ($1.99)
  • The Junior Classics Vols 1-8 by William Patten, Matthew King, and Vox Day ($19.99/set)

An email to this effect was sent out to the Castalia House mailing list. If you are not on it, or if you were somehow removed from it by the vagaries of the current state of email, you can sign up for it here.

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BASED BOOK SALE 2023

Castalia House is supporting the popular Based Book Sale this year, with 8 ebooks at $0.99, one very long ebook at $1.99, and an even longer set of 8 ebooks for $19.99. There are a lot of very good authors participating, including the great John C. Wright, so be sure to peruse the lists!

Bypass the cultural gatekeeping, support non-woke authors, and get yourself some great books from both established and emerging talent for only $0.99 – many titles free!

The sale runs through Tuesday November 28.

  • Fan Favorites: These are some of the most popular titles from previous sales: 185 titles from 92 authors. This is a great place to start, if you’ve never been to a sale before, or if you want to be sure you haven’t overlooked a great deal.
  • New Arrivals: These are new releases and other books that we have not previously featured in a sale or that have not appeared in a while: 70 titles from 51 authors. If you’ve been to the sale before, this is a great place to start for some fresh reads.
  • Non-Fiction: We also have a handful of non-fiction works as well ranging from politics to theology to writing to homesteading.

You can see most of the ebooks that are on sale in the image below. So, if there is something that piques your interest or curiosity, why not give it a go? At only ninety-nine cents, it’s almost certainly going to be an excellent entertainment value.

We are also making the 924-page epic fantasy A THRONE OF BONES available for $1.99 for those who are gearing up to read its forthcoming, and equally massive, sequel, and the eight volumes of THE JUNIOR CLASSICS, 2020 Edition available for $19.99. All on-sale editions are ebooks in DRM-free EPUB format.

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Word Counts

It’s not a competition; some of the best books ever written are not particularly long. The one that surprised me most is WATERSHIP DOWN, as that has always struck me as a massive and epic tale. But it does put things in perspective, sizewise.

The Hobbit – 95,022
The Fellowship of the Ring – 187,790
The Two Towers – 156,198
The Return of the King – 137,115
THE LORD OF THE RINGS – 573,125 total

Summa Elvetica & Other Stories – 173,493
A Throne of Bones – 297,500
A Sea of Skulls – 299,320
ARTS OF DARK AND LIGHT – 717,313 and counting

Philosopher’s Stone – 77,325
Chamber of Secrets – 84,799
Prisoner of Azkaban – 106,821
Goblet of Fire – 190,858
Order of the Phoenix – 257,154
Half Blood Prince – 169,441
Deathly Hallows – 198,227
HARRY POTTER SERIES – 1,084,675 total

A Game of Thrones – 296,901
A Clash of Kings – 321,676
A Storm of Swords – 414,792
A Feast for Crows – 296,989
A Dance with Dragons – 413,202
A SONG OF ICE AND FIRE – 1,746,560 total (assuming the reports that he’s laid down the pen are true)

Gardens of the Moon – 242,265
Deadhouse Gates – 316,975
Memories of Ice – 408,425
House of Chains – 326,275
Midnight Tides – 288,920
The Bonehunters – 390,755
Reaper’s Gale – 382,000
Toll the Hounds – 409,355
Dust of Dreams – 402,070
The Crippled God – 421,755
MALAZAN BOOK OF THE FALLEN – 3,255,546 total

Dune – 187,240
Dune Messiah – 75,127
Children of Dune – 148,381
God Emperor of Dune – 138,167
Heretics of Dune – 165,131
Chapterhouse Dune – 143,435
DUNE SAGA – 857,481 total

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Continue reading “Word Counts”

Mailvox: Why GRRM Can’t Finish ASOIAF

A highly literate reader named JC emails a detailed analysis of George RR Martin’s difficulty in finishing A SONG OF ICE AND FIRE, and reaches precisely the same conclusion that I have assumed all along, which is that Martin is too devoted to intellectual subversion to accept the true and obvious heroic end to his fantasy saga, which is to say, the triumphant marriage of ice and fire.

To put it rather more concisely: one can no more write an English-style novel and not end it with a wedding than one can write a Japanese-style novel and not end it with a suicide.

I don’t think it’s so much that Martin won’t finish the saga as that he can’t. And principally for one reason (though I imagine there’s a host of ancillary reasons): Jon Snow & Danaerys Targaryan themselves. He didn’t anticipate when he set out to write his story, I suspect, to write one genuinely heroic character, let alone two.

It’s clear that Tyrion, and the Lannister family in general, are his favoured characters, and it’s the Lannisters who set the tone of the series. I think this is so for both internal-structural reasons and for personal reasons. Martin just prefers them and sympathises most with their worldview. Structurally, I believe the Lannisters are the vehicle through which Martin has tried to accomplish his main artistic goal in writing A Song of Ice and Fire: to subvert the Fantasy genre, with its roots in the heroic and the mythical, by introducing an element of cynicism and realist historiography, a literary Real Politik.

To do this he had to build a typical Fantasy setting with mythological elements, in order to deconstruct them from within. What he didn’t anticipate, I suspect, is that the ‘machinery’ of his writing would churn out two more or less heroic characters, there among all the cynics, warlords, cowards, bureaucrats, hypocrites, mercenaries, careerists et al. with which his universe abounds: Jon and Dany — who do fit the classical standards of heroism, despite Martin’s critique of their characters, as their motivations ultimately transcend the merely self-interested, and they are brave in the pursuit. Martin is, at bottom, a good storyteller with a keen sense of character, so it’s very likely he trusted his intuitions in writing these characters and plotting out their stories, without fully realising the overall structural implications for his saga.

Now I think he’s reached a bind in his grand narrative. There are two irresolvably conflicting impulses acting within him as a writer — and it’s this irresolvability that has given him an incurable writer’s block, sapping him of all motivation to conclude his epic: the first impulse is the conscious wish to accomplish his artistic aim of deconstructing the heroic and mythical foundations of Fantasy; and the second impulse is the novelist’s natural need not to betray his own characters, to provide a coherent resolution to their ‘character arc’. The problem is that, unwittingly, Jon and Dany have turned out to be genuine heroes in their own right, and Martin can’t figure out how to give their stories a fittingly heroic ending without succumbing to classical Fantasy standards, the very standards he set out to subvert in the first place. Jon and Dany narratologically deserve an heroic ending, but can Martin bring himself to do justice to their heroism, or even to spoil it with one last act of cynicism?

It’s clear that the ‘Ice’ and ‘Fire’ in A Song of Ice and Fire are Jon and Dany respectively, and that it’s ultimately their tale. I can only imagine that Martin did this unconsciously, and that it’s made him nauseous now that he’s discovered it. What we see in the TV Show — Jon and Dany having a romantic affair and it being discovered to be incestuous — I think is Martin’s intention, and I think this development shows his good writer’s instinct. It’s what comes after (the final season of the TV Show) where everything falls apart, and I think Martin knows it. He knows the notes he provided to the show directors are sloppy, inconsistent, and unfulfilling. I can only imagine that when he now sits to write the final chapters in his story, he feels a debilitating anxiety over the problem the existence of Jon and Dany, and the challenge their unforeseen heroism, transcending the pettiness of their surroundings, has caused for him, leaving out all that enthusiasm he once had for the narrative and its setting, when he was writing the opening volumes.

Continue reading “Mailvox: Why GRRM Can’t Finish ASOIAF”

A Respite of Rapes

CDAN reports that George RR Martin is not going to finish A SONG OF FIRE AND ICE.

This permanent A list author has told a few close friends that he never intends on finishing a long awaited book series.

It’s no surprise at this point. All authors, sooner or later, lose their literary fastball, usually around the age of 70 or so. Martin is 75, he is in poor health, he has more money than he can reasonably spend in his lifetime, and he has no children, so he has literally nothing to gain from finishing a story that has already been concluded, however unsatisfactorily, in the television format.

He knows that the fans don’t like his intended end to the saga, so what’s the purpose of devoting several of his last remaining years to torturing himself in order to finish a story that he knows the fans will not find satisfying?

As a reader, I completely sympathize with the firestorm of fury that will likely greet the realization that the saga has already been effectively concluded. But as an author, I can’t honestly say that Martin’s rumored decision is not the right one. Martin knows that his latter books in the series don’t live up to the first two, and I have no doubt he’s well aware that what he’s written since will be widely criticized as sub-par. Better not to publish than publish that which can only detract from his respectable literary legacy.

However, fans of the series need not worry overmuch. There is no way his publisher is walking away from a gold mine that is so easily mined, so I expect that after his death, the publisher will convince whoever ends up with the rights to permit the hiring of a writer to finish the series ala Brandon Sanderson and The Wheel of Time. Ironically, as a proven epic fantasy author, I would probably be one of the top three candidates to do it except for a) my persona non grata status in the SF/F publishing world and b) I have my own epic fantasy saga to bring to a close.

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Interview with John Julius Norwich

This is an automated transcription of an interview with the late English popular historian, John Julius Cooper, 2nd Viscount Norwich, CVO, recorded in 2011.

VOX DAY: I’m delighted to be able to tell you today that my guest is one of my favourite historians, John Julius Norwich. He’s the author of more than 20 books including A History of Venice, Byzantium: The Decline and Fall, Shakespeare’s Kings, as well as his recently published memoirs entitled Trying to Please. Lord Norwich, welcome to the podcast. Western culture has always been obsessed with the Western Roman Empire, and paid relatively little attention to the Eastern Roman Empire, so to what do you attribute this general lack of attention or interest in the Byzantines versus the ancient Greeks and Romans?

JOHN JULIUS NORWICH: I think largely that… I mean, I didn’t. I had the sort of ordinary interest in the Greeks and Romans, because that’s what you have. If you go to school in England, you know, you go to public school education, you learn a lot about the Greeks and the Romans. But the interesting thing in England is that you never, never get any education at all about the Eastern Roman Empire, about Byzantium. It’s a conspiracy of silence, and it has been for the last 200 years. And I fell in love with the Byzantine Empire really, largely because of my friend, Patrick Leigh Fermor, who died last week, who was the greatest archeologist and a scholar of it, and who I went on a cruise around Eastern Mediterranean with. And also when, in 1955, when I joined the Foreign Service, My first post was Belgrade, in Serbia, or Yugoslavia as it was in those days, and I was just sort of swept up in the whole. That seemed to me the sort of the whole mystery and the magic of the Orthodox Church and the Eastern Roman Empire and Byzantium and all that. I suppose I’ve been swept up in it ever since.

VD: To what do you attribute the fact that it was a mystery to you? I mean, it’s certainly a mystery to Americans, we don’t spend any time learning about it either. Why is there such ignorance of it?

JJN: Why is there a conspiracy of silence? Precisely. I wish I knew. I went through what I’m sure would have been considered a very good English public school education at Eton. And I hardly knew what Byzantium was. I’m not sure that I knew whether it was Christian or Muslim. I’m not sure whether I don’t think I knew anything about it at all. And because nobody ever mentioned it all throughout my schooling. And I think I was not alone in this. I mean, people just didn’t. It was never taken seriously by English educationists.

VD: Constantine’s decision to move his capital from Rome to Byzantium was one of the more monumental decisions in history.

JJN: Yes, it tends to distract the reader, as if Obama had suddenly decided to move the US Capitol from Washington, DC to Mexico City.

VD: What was behind Constantine’s decision to establish a new capital? And why did the eastern half of the Empire survive so much longer than the Western one did?

JJN: Well, the capital had really, to all intents and purposes already left Rome. I mean, what happened already in this, in the second century? The second century AD, the whole focus of political and cultural activity, is moving to the east, is moving east from Rome, to the eastern Mediterranean. I mean, if you read the Acts of the Apostles, or if, if you read any of that stuff, I mean, it is it is in Asia Minor on the eastern Mediterranean, that everything is happening. Rome has become a backwater, it’s too far away. By this time. The Empire’s principal enemy is Persia, Rome to Persia. I mean, it’s, I don’t know, three or four months probably travel. And it was no it was absolutely necessary to move the capitol to where all the action was. Diocletian did it first. I mean, he, he decided to divide the imprint of the empire into four. And each one had a what he called a Tetrarch. But all four of them were in the east. None of them are in Rome, even then. So when Constantine decided in 332, to move to move the Capitol, it wasn’t a terribly new or revolutionary idea at all. I mean, he was really doing what had already happened. He was just choosing a new a new place. You know, I mean, Nicomedia. Antioquia was three or four other places, which had been tried out and they were very successful. So he just found this new place. which was superbly in a superb defensive position, and said, right, this is it, this is going to be in future capital. Apart from that we’re exactly the same Empire we’ve always been, where we’re Romans whether our empire is the empire of Adios, Nero and Hadrian and Trajan and all that lot. There’s no change, except that we’ve moved to a new capital.

VD: Why did the eastern half of the Empire survive so much longer than the Western one did?

JJN: Well, I mean, it’s survived. Very, very surprisingly, it remained. Except for 50 years in the 13th century, it remained undefeated, I mean, the Roman Empire continued under the new capital in Constantinople, and got incredibly powerful and is by far the richest, by far the most powerful state in the in the civilised world. Until two terrible things happen. One was the the surge of checks, the first wave of tax arrived, and defeated the Byzantine army. This was intense. And more or less flooded all over the whole of Asia Minor, which was where Byzantium got most of its food, and nearly all its manpower. And, and then, and then, that was the that was the first great disaster from which from which you’ve never recovered. And the second great disaster, of course, was the Fourth Crusade when the the Christian armies, who should have done everything they could to protect and defend and strengthen this last great outpost of Christianity in the east, turned against it and destroyed it, and left it a poor, pale shred of what it had been before, to the point where, although it lasted another 250 years, God knows how it did it. It really had completely lost its importance.

Continue reading “Interview with John Julius Norwich”

I Read, Therefore I Know

We’re finalizing the art for Books 2 and 3 of the Castalia History subscription, and there has been a lot of discussion for what, if any, subscriptions will be created once the Bindery comes online and the two volumes of Homer have been completed. What we’ve learned so far is that we will be able to offer subscriptions with much smaller print runs than before, which means that we can do more esoteric sets that we wouldn’t have previously contemplated.

But the History subscription is already on very sound footing, and the interiors for Book 4 are already being printed. So, we’re pleased to introduce the Castalia History logo in the form that will appear on the spines of all of the History subscription books in order to set them apart from the Library books as well as the future subscriptions. A more elaborate form will appear inside the books beginning with Book 4.

We would also welcome a discussion among subscribers concerning their opinions on what the next subscription or two should be. We’re presently in discussions with a major publisher that, if successful, will be offered as a separate subscription, and we’ve also kicked around a few ideas among the Castalia team.

  • The There Will Be War series (10 volumes)
  • Thomas Aquinas series (4-6 volumes)
  • Chinese Classics series (5 volumes)
  • Chick Lit Classics series (Austen, Bronte, etc.)
  • The Hardy Boys (3+ as copyright allows)
  • Arkhaven omnibus comic series

Please don’t opine without taking into account the availability of the works. Obviously, we will do a Tolkien series whenever we have the opportunity to do so. Anyhow, if you haven’t subscribed to Castalia History yet, you might want to wait until January to start your subscription with Book 4 so that you don’t start with the second book in a two-volume set. Unless, of course, you don’t mind paying five catchups to ensure you get both volumes of the Cambridge Medieval History.

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Junior Classics ebook editions

In order to maximize the availability of the Castalia Junior Classics to every homeschooling family, we’ve now made the Junior Classics volumes 1-8 available as ebook editions in DRM-free EPUB format for less than $35 for the 3,500-page set. Ebook backers of the project should check their emails tonight, as we’ll be sending out a code that will provide for a free download of all eight volumes, which are as follows:

  1. Fairy Tales & Fables
  2. Myths & Legends
  3. Tales of Greece & Rome
  4. Heroes of Chivalry
  5. Tales That Never Grow Old
  6. Stories of Boys & Girls
  7. The Animal Book
  8. Heroes of History

Readers have already seen what the covers and spines look like, but the interiors bear consideration too, as the layouts are done to the exacting Castalia Library specifications and feature literally hundreds of classic illustrations. Volume VII: The Animal Book contains the most illustrations of any book we’ve published to date; THE SEA OTTER is a particularly beautiful tale about one of my favorite animals.

    While Volume VIII: Heroes of History doesn’t contain as many illustrations as its predecessor, it does contain 35 stories about unforgettable historical figures from the most famous to the now-obscure spanning more than 2,000 years. Which means the young reader of this volume will come away with a grasp of human history that likely exceeds that of the average college history major.

    Volumes 9 and 10 are expected to be released next summer. We do not anticipate releasing these ebook editions as single volumes, but if we do, it will probably be via Amazon and not via the Arkhaven store.

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